3, and mark the outline with a pencil: in this, the arc began at 280
of the fly-wheel, and ended at 168, making in all 116 numbers; to
divide 58 for each half of the arc, divide them thus—4, 5, 6, 7, 8,
9, 10, 3, 4; then count back 4, 3, 10, 9, 8, 7, 6, 5, 4. You will see
that the numbers increase one every time or for every circle, which
also is enlarged one notch for each. Having made the three arcs fit
by marking their position with the pencil in the cutter box, cut a
very small circle at 280, enlarge one notch, count 5, cut another,
enlarge a notch, count 6, and so on till you have counted, in all,
49 numbers; do not enlarge the circle, but cut one, counting three
numbers, then 4, which will be the middle, then 4 again, then 3, then
10; after 10, decrease the circle one notch for every cut, and count
backwards, 9, 8, 7, 6, 5, 4. The other three arcs are done the same,
by counting 40 for each on the eccentric chuck wheel; for each of the
crowns cut five circles just above the arc, by counting one number
for each circle on the eccentric chuck wheel, then lower the chuck
one number, and cut the same circles again through the others; lower
it half a turn more, and cut two circles; then half a turn again, and
cut one circle above and between the last two.
PATTERN 5.
Set the cutter to the middle, enlarge the circle four turns; then
turn the slide-rest screw two numbers to the right, cut one circle,
and for each of the other eleven, screw the chuck down one turn,
then return to the middle and cut eleven the other way. When 23 are
finished, screw the slide rest to the left four numbers, and cut 23
more exactly in the same manner. To work the side patterns begin by
that on the right, set the cutter to the middle of the work, unscrew
it two turns, move the cutter slide twelve turns to the right on the
slide-rest, cut the middle circle, enlarge one number of the cutter,
lower the eccentric chuck one turn, and, to keep the _outside_ of
the circles in a straight line, move the screw of the slide-rest
inwards half a number: proceed the same till the nine circles are
cut, then return to the middle circle by counting back nine turns
of the eccentric chuck, nine numbers of the cutter, and four and a
half numbers on the slide-rest; proceed exactly in the same way to
cut the other eight circles, only _raising_ instead of _lowering_
the eccentric chuck one turn for each circle. The opposite pattern
is worked the same, only taking care to turn the slide-rest screw
outwards the half turn for every circle, or the straight pattern will
come contrary.
In all these straight patterns take great care that the fly-wheel is
stopped in such a manner that the eccentric chuck stands perfectly
upright: to do this, hold the T square against one side, and make a
mark on the brass wheel for the stop to enter. When you are quite
sure that the chuck inclines neither to the right nor the left, drill
a small hole in the wheel sufficiently deep for the stop to hold
it quite firm. You will then find your patterns will always come
straight.
PATTERN 6.
Set the cutter to the centre, enlarge the circle six turns, cut
one, diminish one number on the cutter for each of the other eight
circles, and move the eccentric chuck downwards one turn for each.
Count back to the middle circle, and work the other eight the same.
The side patterns are done much like those in pattern 5, only the
large circle is in the middle, and the straight lines incline inwards.
PATTERN 7.
Set the cutter to the middle of the circle, enlarge it two turns
and a half, cut a circle in the middle, turn the chuck down two
turns, so as to cut another a little into the former ones; continue
the same till the seven are done; return to the middle circle, and
cut the other six in the same line, by screwing the eccentric chuck
upwards instead of downwards. When the thirteen are completed, lower
the chuck one turn, and screw the slide rest outwards (if doing the
lines to the right) two turns, cut a circle, then move the eccentric
chuck downwards as before, till the second line of circles is cut,
each line diminishing one turn of the eccentric chuck at the top and
bottom.
PATTERN 8.
Set the cutter to the middle, enlarge it two turns, turn the slide
rest outwards twelve turns, cut a circle near the edge; count 20 on
the eccentric chuck wheel, cut another, then 5 more, each distant
twenty numbers from each other. To make the circles join in straight
lines, screw the eccentric chuck downwards two turns for every one;
when the outside pattern is done, return to the middle circle, and
cut the other lines the same.
PATTERN 9.
Square patterns require great care in working them. First saw the
wood perfectly square; then, when on the lathe, take the T square;
hold the flat edge firm on the bed of the lathe, and the handle
against one side of the wood, till both are even, then fix the wheel
of the eccentric chuck to that number. Having with the cutter worked
one row of patterns, move the chuck 30 numbers, which, if the wood
is quite square, will enable you to do the second row; then 30 more
for the third side, and 30 for the last.
We are told, that French and Italian turners often line boxes with
the peel of the Bergamot orange; they cut a circle through the peel,
and carefully strip it off in two quarters, turning the inside out,
and drying them; the scent is very powerful; of course they can only
line globular boxes the size of themselves.
TO LINE WOODEN BOXES WITH TORTOISE-SHELL.
As many of my readers may wish to line their snuff-boxes with
tortoise-shell, I think it needful to give some instructions in the
best method of doing it. Cut the shell into very thin leaves with
a sharp fine saw, then divide these into the size you wish for the
inside of the snuff-box, leaving a very little extra for the joint.
Take a new rough file, and scrape away a little of the two _ends_ of
the narrow strip of shell, so that they can lie one upon another,
and fit so closely that the aperture is hardly perceptible. Plunge
the tortoise-shell into warm water for a few minutes, and it will
become quite soft. Have ready on the lathe a piece of wood a little
_less_ in circumference than the inside of the box, and perfectly
round and smooth. While the shell is soft, place the joints together,
wrap a wet piece of linen tightly over them to hold them fast, and
press them firmly together with the finger and thumb. Then heat a
pair of tongs to a proper heat, (which is known by trying them on
writing paper; if they brown it, they are too hot; if they only turn
it yellow, they are right,) and with them compress the joint of the
tortoise-shell. The water, the heat, and the pressure united, will
make the two parts join firmly. When finished thus far, file away any
roughness that may remain, and steep the shell into hot water till
quite soft, then slip it upon the piece of wood before mentioned, and
see if it fits it perfectly; if not, try with pressure to give it the
requisite shape; and if this does not succeed, take the wood out of
the lathe, leaving the tortoise-shell upon it, and hold them over a
brazier, turning them frequently and quickly between the hands, that
the heat may equally penetrate all the parts; then strike the side
that bulged out with a mallet, and with a little care it will soon
assume the required form. You may finish it on the lathe, observing
only to place it so that the tool does not catch the lap of the
joint, which might cause it to open; and when you take it off, plunge
it in cold water to make it retain its form.
TO FINISH THE SNUFF-BOX.
Make your box and lid of hard, well-seasoned wood; hollow them out,
and polish the insides, only omitting to cut the lip upon which the
lid fits, and which will be formed by the tortoise-shell. As you
hollow out the box and lid, keep fitting in the shell, that you may
not make them too large; when it slips in rather tight, take a point
tool and cut some circles on the inside of each; (this is done to
enable the glue to hold firmly.) Now, take the tortoise-shell and
file that part that is to be cemented to the box, so as to make it
rough. Take a pair of compasses, in one end of which is a sharp
knife, set them to the exact size of the inside of the bottom and
lid, then place them on a piece of tortoise-shell, and cut out the
two round pieces. Melt some glue till rather liquid, thicken it with
vermilion, lay a coat on the inside of the top and bottom of the
box, and press in the two circles of tortoise-shell; in the same
manner glue in the sides, leaving the lip (upon which the lid is to
fit) standing up above the bottom part of the box. Leaving the glue
to harden for a day, then replace the work on the lathe, turn the
inside quite even, and polish it with pounce powder and oil, then
with tripoli powder and water. Should the lid, when finished, become
too small for the box, dip it for a minute in boiling water, fit it
on to a piece of wood the exact size, and leave it there to harden.
HORN TO IMITATE TORTOISE-SHELL.
Dissolve three ounces of potash in a pint of boiling water. Let it
boil for a quarter of an hour, then pour it into a basin capable of
holding about as much again, and in which you have put half a pound
of quick lime, stir it well, and when the latter is _slacked_, add
three ounces of red lead and one ounce of vermilion.
When the whole is of the consistency of thick soup, dip a thin
pointed stick into it, and lay the drops it will take up upon a piece
of horn in those parts required to be coloured, leaving those that
are to be transparent. When quite dry, clean the whole with a wet
sponge, and you will find it will greatly resemble tortoise-shell.
MASTIC USED IN TURNING IVORY VERY THIN.
To turn ivory as thin as writing paper, so as to render it quite
transparent, is very difficult to accomplish, but is much admired
when done, and shows the skill of the artist. To enable the ivory to
bear the action of the tool without splitting, the following mastic
has been found very useful, both for strengthening it and for giving
a deep colouring, by which means the thinness is more perceptible.
Some turners wet the ivory for the latter purpose, but as when wet it
is quite transparent, and thickens again when dry, the mastic will be
found much preferable.
Take some lamp or ivory black in powder, and strain it through a fine
sieve, so as only to retain the finest parts. Steep these in water
to free them from any impurities. After lying in it a few minutes,
pour off the water, and make some glue very hot, mix it with the lamp
black till of the consistency of oil paint. This mastic must be kept
warm near the fire, and when you have sufficiently hollowed out the
vase, or whatever you wish to turn, very thin, shape the outside a
little: then dip a large camel’s-hair brush in the warm varnish and
lay a thick coat all over the inside; let this dry, put on another,
and repeat the process till sufficient strength is obtained. You may
now, without fear or danger, work your ivory as thin as possible, and
ornament it with the cutters and drill. Without this mastic it would
not, when transparent, bear the force of these tools.
When the work is all finished and carefully polished, take it off
the lathe, and put it in a basin filled with warm water. After a
few minutes’ immersion, take it out, and plunge it in clean water,
shaking it gently. This will make the mastic dissolve and leave
the ivory. Renew the warm water frequently, as leaving it in the
blackened liquid might injure the colour of the work.
BEAUTIFUL VARNISH FOR WOOD, TO BE USED WHILE THE WORK IS ON THE LATHE.
To one quart of spirits of wine add four ounces of lacker, three
ounces of gum benzoin, one drachm of camphor, half a drachm of
sandarac, half a drachm of dragon’s blood, one drachm of turpentine.
Put these ingredients in a long-necked bottle capable of holding
two quarts, and tie a piece of wet parchment over the neck; when
dry, pierce it with holes with a large pin. Place the bottle in the
_bain marée_ till the contents are perfectly dissolved, shaking it
frequently. When cold, strain the liquid through a piece of coarse
muslin, and keep it well corked for future use.
Having finished and polished your work with tripoli powder and
sand-paper, wipe the wood quite clean with a piece of fine linen.
This done, put a few drops of the varnish on a bit of cotton wool,
and one drop of olive oil, to prevent its drying too quickly; while
applying this varnish, make the lathe wheel go very quick, and hold
the cotton close to the work.
To polish the above, when the varnish is perfectly dry, take some
finely-powdered whiting or chalk, and with it polish the work in
every direction, but be careful not to press too strongly on the
varnish, or it will be marked; and do not rub it for more than a few
minutes at a time, as the friction and excessive speed and heat will
spoil the polish. When done, take a sponge dipped in water, wash the
work well, and then rub it with a piece of fine linen, and a drop
or two of olive oil; lastly, clean it with a bit of soft old rag or
leather.
TURNER’S CEMENT.
Sometimes the workman is too much hurried to wait till the work can
be glued upon the chuck; the following cement will be found useful.
Take two pounds of Burgundy pitch, one pound of rosin, one pound of
colophonium, two ounces of yellow wax, and one ball of whiting. Melt
all, except the latter, in an earthen pot, over a slow fire. When it
begins to bubble, stir it well with a stick to prevent its passing
the edge of the pot, and when all is quite melted take it off the
fire. Add the whiting, finely powdered, little by little, stirring in
well till the contents are perfectly mixed. Replace the pot on the
fire, still stirring it; and after a few minutes, pour all the cement
quickly into a tub or basin of cold water for about a minute. Then
take it out, and knead it well with the hands. Roll it into sticks
upon a smooth stone, and plunge them into cold water to harden. The
strength and goodness of this cement depends greatly upon its being
made as rapidly as possible. To use it, melt the end of one of the
sticks by putting it near the fire; rub it on the chuck; when you
think there is sufficient cement laid upon it, heat the bit of wood
or ivory you wish to unite to it, and the warmth will make it adhere
firmly.
Another cement, that is preferable for using in cold weather, is made
by adding two pounds of Burgundy pitch, two ounces of yellow wax, and
two pounds of Spanish white. These are melted together, rolled into
sticks, and used as above; one stroke of the mallet will detach the
work from the chuck when joined with this cement.
NEW AND VALUABLE RECIPE FOR TAKING BEAUTIFUL IMPRESSIONS FROM TURNING
PATTERNS.
Take a sheet of rice-paper, paste it upon letter-paper with flour
paste, which must be mixed as smooth as possible, and laid on very
thin. Leave it till quite dry, then lay the rice-paper thus backed
upon the piece of Turning, and with the thumb nail or a piece of
cloth rub the back of the paper, pressing it gently so as to make
it enter into all the deep, fine cuts of the Turning. The impression
will be beautiful, and have the appearance of a raised medallion.
It is invaluable for taking off patterns from ivory, as it can in
no way injure the colour or delicacy of the work; and from the
facility of bending the paper, impressions can as easily be taken
from round articles (as the sides of a box or pillar) as from flat
ones. The medallions may be left white, or the pattern coloured with
water colours, leaving the ground white; and they can, besides their
utility as patterns to which to refer, be employed in ornamenting
various useful articles.
* * * * *
In turning the pillars in the temple, pl. 13, great inconvenience and
trouble have been found in working them, for want of the support of
the puppet G, plate I; for as in each step the eccentric chuck has
to be slightly altered, the point, J, of the puppet, when the work
is moved, is apt to slide back into the hole it first formed, thus
making the steps quite crooked. To obviate this difficulty, I should
advise my readers to use the following simple contrivance. Take out
the point, J, and replace it by a piece of wood turned to fit exactly
into the tube, and on the end of which is left a circular piece the
size of a half-crown. Take another bit of wood, of the diameter of
your pillar; fix a short nail into the middle of it; glue the other
side to the pillar, put it on the lathe, screw up the puppet, G, and
you will find the nail will always, whenever you move the chuck,
firmly fix itself into the wooden end which replaces the point J.
* * * * *
And now, having, I trust with sufficient clearness, explained the
practical and ornamental parts of concentric and eccentric Turning,
I will take leave of my readers, only adding that, if they wish
to attain perfection in this interesting art, they must patiently
continue their exertions, for experience and industry will alone
enable them to avoid many faults, and discover the real cause of
many failures; and to those who may feel disheartened with repeated
disappointments, I will say—
“Courage! try thy chance once more.”
Let me also observe to those who cannot afford to purchase much
expensive machinery, that with care, patience, and perseverance, the
common tools may be made to work a great variety of very beautiful
articles: and if they will also keep in mind the old-fashioned but
true saying, “that whatever is worth learning at all, is worth
learning well;” they will, I have no doubt, soon become proficients
in an art that has been admired and practised for centuries.
THE END.
STEREOTYPED BY L. JOHNSON AND CO.
PHILADELPHIA.
Transcriber’s Notes
pg 20 Changed are great authority,) to: authority),
pg 28 Added period after Gimlets
pg 40 Changed make them for himself,) to himself),
pg 47 Changed 1, 2, 3,) to: 3),
pg 63 Changed pedestals of vases. to: vases,
pg 70 Added colon after: Bard of Avon expresses it
pg 75 Changed wheel on the overhead to: over-head
pg 81 Changed resemble a honey-comb to: honeycomb
pg 92 Changed (of the cutter tools,) to: tools),
pg 92 Changed glued in afterwards.) to: afterwards).
Other hyphenated and non-hyphenated words left as written.